Flowers is easily the Icelandic singer’s most accessible, prettiest record to date.

It’s exceptional stuff.

Interjected with dusty dubplate samples, gun-finger shots and clashing MCs throughout, what Jungle Revolution lacks in variation it makes up with genuine spirit.

There are moments of schmaltz, but these Little Green Cars exude a lorry-load of charm.

Beautifully crafted, eccentric and disturbing, but essential pop all the same.

Dear River is an interesting collection but, while pretty, these songs sometimes sound a little too slick or obvious.

With an energy and ambience that ebbs and flows in waves rather than exploding in peaks and crescendos, this is edgy, kaleidoscopic lounge music for the Digital Age.

Solid if unspectacular then, yet you’ll find that, much like when in high school, it’s always worth checking out the Art Department.

Breezy but not without substance, if Resort reveals anything about Tuff Love’s trajectory, it’s that they’ve become more contemplative over time, while refusing to forgo their shambling melodic impulses in the process.

A tense but rewarding debut--one that fits in nicely with the Clinic canon, while also giving Sherwood a starring role.

Unmistakably catchy piano riffs and heart wrenchingly honest lyrics form the basis of the record much like Odell’s debut, however by amplifying the intensity on the new tracks proves that maybe, just maybe, more is more.

The whole set is neatly balanced and a joyous listen.

A few listens, however, will peel back a casing and find that every track has its own M.O and spans the curvature of the emotional kinsey scale.

Though the record as a whole is weaker than its predecessor, there’s enough flashes of career-high brilliance to keep The Wharves on the right path of progression.

As a musique concrète or experimental electronica album, Burials In Several Earths is an above average attempt that contains myriad intricacies and points of interest. As something to carry on a peerless lineage, however, it feels like an unnecessary move.

The final result is a debut album brimming with confidence, confidence not only in Lipa’s own voice and her eye for a chorus, but in the emotive quality of her lyrics.

A solid album that despite getting into a more forward stride, does slow burner as patience tester.

Rationale is a project which highlights Fazakerley’s vocal and songwriting dexterity, and is delivered with an impressive style and confidence.

Rather than a coherent and recognisable new sound, it seems as though all manner of ideas are being thrown at the wall to see what sticks.

It feels like a career-straddling greatest hits collection in which all the ‘hits’ are brand new.

While this ‘everything but the kitchen sink’ ethos doesn’t always hit, No Sounds Are Out Of Bounds’s jovial attitude towards its own self-existence makes for an endearing listen that’ll no doubt flourish over time.

A Better Life is an entirely different beast, expanding on their debut’s vigorous garage-pop sound to create something darker, meatier and much heavier on all fronts.

Sule Skerry is a hymn to the sea, and it certainly feels that way in places: there’s a gentle ebb and flow to its ambient pieces which rarely threaten storm’s break, save perhaps the more urgent arpeggios of ‘Lump O’ Sea’.

It’s a worthy project, one that demonstrates to the listener just how much METZ crushed from day one before reminding them that they haven’t stopped crushing it since.

'ENERGY' sees the duo step out of their comfort zone, engaging with an array of previously unexplored artists, genres and themes. They have wholeheartedly refined their vision and approach as artists.

As an ode to the pleasures of the dancefloor, Kylie has delivered her most unashamedly fun record in almost a decade.

‘BUMMER’ is a record made to be played hard and loud, heard blaring out of car windows and making cavalcades in faceless crowds.

The album’s 14-tracks takes the listener on a mystical journey of hope, realism, racism and, eventually, the bright stars above. Unfortunately, with every shot of adrenaline and excitement that comes through tracks such as 'Obrigado', 'Mirrors' (featuring SnoH Aalegra and Cam O’bi) and 'Skip To My Lou', there are other that slam on the brakes just as forcefully, just as momentum and energy were building.

When it punches hard, ‘Jose’ doesn’t miss. ... Yet ‘Jose’ – like Drake and Kanye’s efforts, previously – is led down by quality control. The creativity is undiminished, but it struggles under the weight of its 24 track span – clocking in at more than hour, the record at times tries the patience.

With Johnny Marr-Esque riffs, life-affirming lyrics that have a sincerity, depth, and wisdom beyond their years, the Lathums are cementing themselves as one of the UK’s top bands.

‘Now or Whenever’ is more of a grow-er than a show-er but has much to show for itself.

Perhaps it’s their captivating storytelling taking a psychological turn, or maybe it’s the way they’ve incorporated cutting edge electronica, pop and R&B elements into the melodic energies of classic new wave, alt-rock and indietronica, but, ‘Fix Yourself, Not The World’ is a record that will appeal. It is arguably their best work yet.

Throughout a collection of moving gems that have the potential to evoke heartbreak, ‘Nobody’s Home’ also houses contagious jams that speak to Bakar’s take on the infectious nature of indie rock.

'Homesick' is defined by its anthemic vulnerability, truly capturing a sense of coming of age excellence. Much like the outfit’s previous releases, there is this sense of familiarity stitched into every track, making the nostalgia shine even brighter.

It’s not expressly about anything. This is music that performs confidence, that uses confidence as a genre rather than embodying it in any convincing sense.

‘SUCKERPUNCH’ sees Chloe Moriondo at their most daring and most confident on what is by far their most creatively impressive album to date.

NLE Choppa has his sights on the prize, and he’s armed with some career-best material. Without doubt his finest project yet, ‘Cottonwood 2’ pushes NLE Choppa into the upper echelons of Stateside rap. Next stop? The world.

The project does retain a level of focus and direction, despite the chameleon-like nature of Crosses, making for a thoroughly enjoyable and dynamic listening experience.

If you like filagree synths and dimorphous melodies, then this is the album for you. The songs are immaculately crafted. The melodies catchy. Lyrics memorable.

It’s nebulousness as an LP mirrors the queer experiences that created it – it’s cerebral, constantly in flux, refusing to be defined as any one thing.

There’s an unpredictable feeling to the way a lot of the songs unfurl and from a purely musical standpoint, they’ve never sounded more confident or finely tuned as a unit.

Tracks like the Bonobo-esque ‘Green’ are properly lovely, and wholly capture an air of sun-setting, downtempo chill that you’d have to be stony hearted not to enjoy spending time in. If there’s a downside, it’s that a couple of tracks sack off the sense of seductive, textured chill in favour of some prosaic ideas and unfortunate reference points.

A succinct declaration of independence, ‘Formula OneDa’ finds the Manchester rapper nailing down her testament – she implores you to listen.

At nine tracks, some short, Bananagun’s return is always enjoyable but never quite stellar. Bakel’s ability to conjure a thrilling live sound and tangible atmosphere deserves plaudits – let’s just hope that next time around, there’s a little more structure and a sound they can call 100% their own.

It’s an absolute treat. Littered with innumerable highlights and demonstrating a remarkable consistency across its 16 tracks.

On ‘Anatomy’, her second album, Potter delivers a collection of songs whose meanings are never clear. Are they about relationships, the planet, films distilled into three minutes? It’s this lack of clarity that makes ‘Anatomy’ so enjoyable.

What a thrilling and implicitly optimistic experience it’ll provide. ‘Ferrum Sidereum’ is the sound of human brains (and souls) firing in a manner that no machine ever will.

the duo have created a record that captures the leap from breakout buzz to real influence, marking the moment a rising act becomes a shaping force.

Rave horns echo like WW2 sirens being played on a fucked-up ghetto blaster while the cast of House Of 1000 Corpses do their best Gucci Mane impressions--an interesting, if perhaps slightly contrived, oddity.

A collection of pulsing synths, bouncing beats and empowering vocals, X-Communicate may have seen Kristin Kontrol strip away her former image, but it’s left the singer’s sonic presence stronger than ever.

Tthese songs are as focussed, refined and honed as anything Spencer has ever done, yielding some of his most infectious guitar lines and arguably some of the finest tracks of his lengthy career.

An energetic and vibrant project, that is exactly what the music scene needed in such an uncertain time. One of J Balvin’s strongest projects to date.

Polished production all around allows the band to really bring a twist to their previous music. Simple bass lines and drum beats are easily forgotten about, but the band use this to their advantage throughout the seven track production.

Although Lousy With Sylvianbriar lacks the violent eclecticism of their 2007 classic ‘Hissing Fauna, Are You The Destroyer?’, it’s a genre-morphing triumph that reveals new surprises with each listen.

It's a band comfortable with the idea of growing up but like kids trying on their parent's clothes, the ideas behind Aabenbaringen Over Aaskammen are a little oversized but not by much.

Turn Blue is pure searing sexiness, hotter than a Nashville afternoon. Their best yet.

Enjoyable, but some’ll always believe in it more than others.

Pity Sex may have taken few risks to make a breakthrough album and they’re hardly re-inventing the wheel, but White Hot Moon is a solid effort and a worthy follow-up to debut ‘Feast Of Love’.

O’Connell colours firmly between the lines. His ideas do not stray beyond the conventions you’d expect for each singer-songwriter outfit he puts on from song to song.

The only problem here is that the genre is taken to the extreme, and can blend together to the point where the album seems like one massive track.

While there’s nothing that will diminish their legacy or standing in rock music, there’s very little material that pushes the band forward either.

While there are moments that lack substance, ‘Can’t Rush Greatness’ also provides some of the best music of Cench’s career thus far. Central Cee went into this project carrying the belt of a UK Rap mainstream heavyweight, with ‘Can’t Rush Greatness’ he’s managed to retain that title.

If perhaps lacking something as standout as ‘Mess Around’ or ‘Ain’t No Rest For The Wicked’, it is a welcome return for the Kentucky rockers showing after nearly 20 years together they still know how to groove.

Sleigh Bells must be applauded for their experimentation on Jessica Rabbit, and it has provided riches, but as with earlier releases, the main weakness is a lack of emotional scope and pace over a course of an entire album.

First Serve holds no fear for newcomers, consolidates their legacy, and deserves at least one encore.

This record feels like the perfect summation of Childish Gambino’s always-on, internet-driven data-overload experimentation. It’s a work of maturity and vision, out-pacing his peers to deliver something vital, and true to himself.

The Godfather of cool retains his title!

The ’80s sci-fi pastiche meets early-’00s girl power wears thin over 11 tracks, but there are still moments for the dancefloor.

Get some eggnog inside you and give this enduring pair a little respect.

It’s one that sees TOY testing the water for the future blueprint of their music, which seems only to be building on its successes.

This is an absolute treat for fans of rootsy vintage soul and a remarkable statement of intent for a debut release.

It's a captivating mix of material, yet hangs together well and has a surprisingly easy flow.

This album is going to seriously divide opinions across the spectrum, from the trvest of metal sugariest of pop stans. But Poppy remains a daring and divisive artist making daring and divisive art, and ‘I Disagree’ is the perfect shot of adrenaline to kick start a new decade with.

One of the best things about ‘Time Bend And Break The Bower’ is how every song feels new.

A record packed with solitary voices, the New Yorkers seem to amplify their ability to capture the beauty in melancholy, stripping back the paint of the everyday to reveal the extraordinary underneath.

Madison has taken all the strengths of 2023’s Grammy nominated ‘Silence Between Songs’ to craft an impressive album full of vulnerability and powerhouse vocals.

In terms of consistency, ‘Venus’ doesn’t quite match her previous work. Sure, it’s heaps of fun at times and packed with plenty of euro pop bangers to satisfy the faithful, but this time around, otherworldly, celestial highs compensate for moments when Larsson surrenders to commercial viability during its unfortunately frequent lows.

No real surprises spring out, but tracks like ‘Dye The Water Green’ and ‘You’ demonstrate an impeccable creative beauty that his juniors will struggle to match.

Unfortunately, other than aiding nostalgia, there's not much else nice to say about The National Health.

They've escaped the dirge and have now come up for air--and we're all the better for it.

Shorn of that album’s [Forever Blue] voluminous post-rock textures, Williams’ deft playing provides a delicate yet ornate framework for her voice to soar, lending new tenderness to erstwhile grandiose rockers by Deftones and Smashing Pumpkins, while squeezing even more pathos from The Cure’s mighty ‘Lovesong’.

A pleasing work of subtle evolution that taps into the group’s core values while teasing out fresh ideas.

The album seamlessly transitions through genres of music that will be influencing the next decade of sound. To achieve such fluidity is unbelievable, and Skrillex continues to be the Godfather of EDM.

A work of impish maturity, ‘Extreme Witchcraft’ is Eels at their most playful, with the band’s carefree wizardry still delivering thrills, even after all these years. While not ranking with their absolute best work, in terms of breakneck guitar-led songwriting it more than delivers.

Never one to hide his emotions previously, Rufus Wainwright offers a sparse but staggeringly heartfelt collection of songs for voice and piano, influenced, at least in part, by the long-term illness and recent passing of his mother.

I genuinely mean that as a compliment: music doesn’t always have to be hard work, and Richter’s latest offering, ‘In A Landscape’, feels like the opposite of work.

With his last album, ‘Stick Season’, Noah Kahan confirmed the reign of folk-pop in the current age, and with ‘The Great Divide’, he further proves that he’s not just a one-hit wonder.

The focus from all concerned makes the convincingly grisly fiction a lot of fun.

Nostalgic, melancholic, worrisome and finally joyful, Doom Days is a production that leaves you with optimism for a better tomorrow.

Drenched in trademark rosy glow, it’s all tender and consolatory.

‘The King’s Disease’ finds Nas grappling with a raft of contradictions, contrasting the opulence of his lifestyle with the need for vitality in his message. It’s not perfect, but it’s less an end product, and more the search for creative process – by the end, you become convinced the Queens rapper has found his throne.

His wheelhouse has always been in conveying emotion, profound sincerity and of course his stellar storytelling, and ‘Look Up’ is the perfect showcase for him to do that.

Back To Land won’t immediately blow you away, but that warm, overdriven sound makes the latest LP from this San Francisco quartet another compelling one.

For the most part, the record warrants its own expansiveness as themes of self-doubt, isolation and faith slowly supernova among dazzling ambient instrumentals, careening string sections and Sufjan’s warped vocals that bring harmony, hope and futurism to the cold, dense expanse of space.

While there’s comfort in these smooth and soulful blues-rock tunes, The Black Keys could really do with a touch more grit and raucous charm to stand it out amongst their discography. Either way, a solid effort regardless.

Forever rushing forwards, Saturday Night isn’t content to sit still. It’s illuminating and infuriating, but never easy to ignore.

On an album centring around concepts of storytelling and reflection, Iggy Pop’s voice remains phenomenal. It always will. However, an underwhelming feeling lingers throughout 'Free', one which is hard to ignore.

Tha Carter V was never going to be flawlessly executed--the odds were too stacked against it--but it certainly gives the audience the thrill we were hoping for. It’s a return to form, and a triumphant return for one of the greatest of all time.